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Gentrification of Craft in the Mountains

Presentation #1 Abstract or Summary

Tradition has always collided with progress and new ideas; this scenario can be seen in a myriad of situations. In building unity and preserving diversity, this collision is evident in the gentrification of crafts in the mountains. What began as a movement to uplift local mountain folk has morphed into a highly specialized money-maker that attracts people with discretionary income who more than likely are not native Appalachians, with most of the folk schools and craft schools catering to this specific income bracket. This change is taking root in local community college programs and university programs as well, as seen in the raise in tuition costs and the regulation of traditional craft patterns regulated to continuing education classes instead of integrated into an established curricula. The gentrification even extends to such issues regarding gallery owners making undesirable establishments nearby (such as soup kitchens, thrift stores and other charities serving the local community) feel unwelcome and unwanted. How can the past, present and future of craft in the mountains preserve tradition, provide economic stimulation, inform modern techniques, and educate current craftspeople while ensuring unity and diversity work together to build a new Appalachia?

At-A-Glance Bio- Presenter #1

Erica Collins is an independent scholar and weaver originally from east Tennessee. Currently she lives in western North Carolina.

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Gentrification of Craft in the Mountains

Tradition has always collided with progress and new ideas; this scenario can be seen in a myriad of situations. In building unity and preserving diversity, this collision is evident in the gentrification of crafts in the mountains. What began as a movement to uplift local mountain folk has morphed into a highly specialized money-maker that attracts people with discretionary income who more than likely are not native Appalachians, with most of the folk schools and craft schools catering to this specific income bracket. This change is taking root in local community college programs and university programs as well, as seen in the raise in tuition costs and the regulation of traditional craft patterns regulated to continuing education classes instead of integrated into an established curricula. The gentrification even extends to such issues regarding gallery owners making undesirable establishments nearby (such as soup kitchens, thrift stores and other charities serving the local community) feel unwelcome and unwanted. How can the past, present and future of craft in the mountains preserve tradition, provide economic stimulation, inform modern techniques, and educate current craftspeople while ensuring unity and diversity work together to build a new Appalachia?